The most important part of tonight's City Plaza show was getting there in time to see Death
play "Keep on Knocking." For some reason I thought they might play it
early, and sure enough it was the second song in their set - for once my
intuition pays off! I had a friend wonder out loud if they played that
song too early, as it's the best in their catalog and what I'd guess a
lot of people were looking forward to the most. The rest of the set was
good though, lots of between song banter about their deceased brother
(who was the original guitarist) and scorching instrumentation.
Particularly of note is how the bass is used almost like a lead guitar
in the band, out in front of the mix. If you haven't seen it, I
definitely recommend the documentary on them.

It had been a while since I last saw Mastodon,
back in 2009 at the Cradle. To be honest I've not been nuts about the
band's slow digression into prog metal, but I figured that performed
live even that material would probably sound great - this was correct.
Plus those first two records of theirs "Leviathan" and "Remission" are
damn near perfect, and the chance to hear any of those songs was worth
the attendance. They did finally trot out some of these older tracks
towards the very end of their set when I took off for other shows, but
between the band's performance and the people watching I enjoyed myself
anyways. A few notes:

- There was an epic mosh pit and tons of crowd surfing. This is not surprising, but I felt like saying it anyways.

-
Someone should have done a photo study of all the metal t-shirts at the
show. By my rough estimate, surprisingly Red Fang is the most
popular.

- Nearly a couple of fights broke out near me,
but cooler heads prevailed in the end. Chalk one up for even-keeled
drunk rockers.

- That clear Flying V that Brent Hinds played for a while? I was drooling.

- Is there another metal band where all members sing like with Mastodon? That's gotta be unique to this band.

I kept the metal train going by popping into the Lincoln Theatre to see what Demon Eye
was all about. Turns out they were all about some seventies-style
Sabbath-y metal, and it sounded fuckin' awesome. Nothing groundbreaking
to be sure, I feel like I've heard any number of bands go down pretty
much this same road, but these guys were performing it at a pretty high
level. The room was almost empty when they started their set but
halfway through a rather healthy crowd had trickled in and seemed as
into it as I was. They're local so I'll definitely be making it a point
to get to one of their gigs again.

My plans were
very loose for the next little while until it was time for the White
Octave at Kings. I passed my friend Maggie who said Wing Dam
were putting on a great show at Slims, so I popped in to see what they
had cooking. The place was packed and hot as shit aka a normal Slims
show during Hopscotch. I could barely see the band, but they sounded
good - I'd call it scuzz pop just because I like inventing genres, they
were sorta distorted, catchy pop music full of energy and clearly sweat
as both the guy and gal at the front of the band took off their shirts.
I feel like I see their name listed on show bills fairly often, so it
was good to finally put a sound with a name. Then my friend Enoch
passed me on his away out of the club and said there was already a crazy
line to get into Kings...it was time to go get on that, because I would
not be denied entrance.

I got into the club just in time to see the final Y'all
song, which was really just an epic distorted rock freak-out jam that
may or may not have been indicative of their set at large. I think I
saw them once before, but sometimes this shit bleeds together. I do
know they are from Charlottesville and were formerly part of the
now-defunct Invisible Hand. They play a lot so I'm certain I'll see
them again.

The next band was Krill
from Boston. I had never heard of them but their sound clip on the
Hopscotch site was interesting, so I was curious to see what they were
all about. I'm not sure if the crowd was just already pumped for the Octave or they were genuinely up for Krill, but either way it was a lively scene.
The band was a three-piece with a heavy bass presence, and at their best
that had a fun indie-pop-punk vibe that I could see myself getting
into. There were a few moments when the bass got too heavy and and I
worried the music might go in too much of a "funk" direction, but they managed to keep it pretty well reigned in.

Finally, the White Octave. If this wasn't my second most anticipated show after the War on Drugs, it was damn close. Certainly others felt much stronger about it than me - a guy in front of the stage on the opposite side of the room
was openly weeping and shaking and being consoled by his friend after
meeting frontman Stephen Pedersen just before the show started. While
part of me wants to make fun of the dude, mostly I'm just pissed because
I don't think I've felt as passionately about anything as this guy
apparently feels about this band. Given that they hadn't played live or
released any records in 13 or 14 years, I was surprised at how many
young people were there and were WAY into it. How? Why? I'll never
get these answers, but I was genuinely perplexed. Some of them were
probably in elementary school when their records came out! Anyways, the
band sounded amazing - like they'd never missed a beat, very tight and
dynamic and engaging just like I remember from the late nineties. The
crowd, at least at the front of the stage where I stood, were
collectively losing their shit - so much singing along and fist pumping
and giddy faces out of the whole lot of them. One can only hope this
happens again. Also: their first record is getting reissued, or rather
finally issued on vinyl - exciting times.

Finally, as an end to my night and Hopscotch as a whole, I popped back into the Lincoln to see the one and only High on Fire.
They were already into their set, lovingly brutalizing ears even from
outside on the sidewalk as I walked in. Listen, I don't want to alarm
anyone, but I have some news of note: Matt Pike was playing the show
shirtless. I know right?!? I was worked and only had a few songs in
me, but they sounded great. Am I the only person in the world that gets
a more aggro Motorhead vibe from these guys? Not on the recordings
necessarily, but live...yeah, I'm probably the only one.

It was a good Hopscotch - money well spent, time well wasted, ears well damaged. Until next year!

I had never paid much attention to St. Vincent
- heard a couple of songs here and there, saw part of their recent
performance on Saturday Night Live, but that was about it. I had zero
expectations for her set at City Plaza, but found myself very
pleasantly surprised. Their live show was a full spectacle: weird
choreographed dances combined with a light show and great, catchy music
that really reminded me of modern version of Prince (and I recently
re-watched "Purple Rain," so I'm an expert in this subject). Oh, and it
was loud. I mean, LOUD - I wasn't even that close to the stage and it
left my ears ringing. Annie Clark really is the total package -
complete shredder on the guitar, great song writer and performer, and
being very pleasant to look at doesn't hurt either. As much as I might
personally like Spoon, St. Vincent should have probably been the
headliner tonight, because it wouldn't be fair to ask them or most
anyone else to follow up this performance.

Spoon
was the headliner though, and it had been a while since I'd seen them.
I've barely listened to their records after 2007's "Ga Ga Ga Ga Ga," so
I was really hoping some of their older songs would make it into the
set list. Mixed in with the newer tracks I didn't know were classics
such as "The Underdog," "I Turn My Camera On," "I Summon You," and most
excitingly "Small Stakes." Yeah, I would have loved to hear more of
these older songs, but I didn't really expect it. Then again, I only
caught about the first hour of their performance before heading off to
other venues, so they might have played a few more vintage hits in the
remainder of their set. Oh yeah, they also had a great light show,
maybe not as good as St. Vincent's, but since it was dark by the time
Spoon took the stage the lights stood out more. And we'll not even
discuss the fact that most of the band was dressed in all white after
Labor Day as if they don't know the rules of fashion. Tsk tsk.

My next stop was going to be Obnox at Slims, but with a huge line queued
up outside I just walked right past and headed to Vintage 21 (aka that
church on the corner of Hargett & Person) to see local lads Enemy Waves.
I caught a good set by them earlier in the year and wanted to see them
again; finding out that Thurston Moore would be sitting in for part of
their show made it a done deal. Moore had the title of "improvisor in
residence" for this year's festival, and was floating in and out of
various gigs, in addition to playing his own solo show (which had been
the night before at the same time as War on Drugs, so I obviously missed
it). And while I enjoyed their final song with Moore, a fifteen minute
free form rocker, the real meat was the first part of their set - it
was heavy jams my friends. They had a thick kraut rock vibe, like a
seventies metal band that had listened to a lot of Can. When you add in
the occasional horns I'm kinda lost for a comparison, all I know is it
rules and was one of my favorite shows of the whole festival.

I decided to stick around in that same venue to see some of the next artist, Tony Conrad.
He's apparently a legend in the noise/avant garde/whatever the fuck you
call it community. I'd never heard of the dude but enough people I
know were excited about this performance that I decided to see what the
fuss was. He started his set off holding a small framed canvas that was
mic'd; he then painted a circle on the front of it, cut out a hole
inside the painted circle with a box cutter, and proceeded to run a
violin bow in an out of the hole along the cut edge creating squawky
sounds. I don't know if I'd call it music or even good, but I guess I
would call it interesting. He then banged that framed canvas on the
ground to create a rough beat that he looped through a sampler, and
played noisy violin on top of that. To be perfectly honest I don't know
what the fuck it was I saw, but it held my attention for about fifteen
minutes before it was time to move on. I just don't think I'm ever
going to get that world no matter how many times I try.

I was on a sampler platter tour en route to the Lincoln, and
stopped by Tir Na Nog to see what was happening - and that happening was
Dark Rooms. I
had talked with frontman Daniel Hart a few times when he toured with
the Rosebuds a few years back, but this was my first time witnessing his
own band. I watched a few songs of their, well, "violin indie pop" I
guess. Is that a genre? Well, it is now. The music had drums paired
with electronic drums, keys, guitar, Daniel on the violin, and lots of
catchy harmonies. The songs were upbeat and almost dancey, and the
place was pretty close to packed with folks that seemed really into it -
can't say I blamed them. After a little while I wanted to see what was
happening next door though, and off I went.

What was happening next door was local rapper Big Pooh,
formerly of Little Brother. When I walked in he was covering Nas' "The
World Is Yours," which was totally confusing because I don't think I've
ever seen a hip hop artist play a cover. It sounded good though, and
it's a great song, so why not? After that he played what I assume was
his solo material, which I've never listened to but want to now after
seeing part of this set. Dude had great stage presence and seemed very
personable.

Finally, it was the last show of the night, Sun Kil Moon at the Lincoln Theatre. To sum it up succinctly: what a clusterfuck. I could detail the proceedings myself but this Pitchfork news item
pretty well sums it up. He was a prickly asshole from the start, but
this isn't new for him. Part of the crowd were also being dipshits, but
I think this is more a function of the venue - the Lincoln is usually a
place for raucous behavior, an open room full of heavy drinkers and a
very busy bar. Truthfully, Sun Kil Moon should have been booked
elsewhere; that doesn't mean Mark Kozelek wouldn't have still been
cock, but maybe it would have lessened the chances. Mostly, despite the
ill will back and forth between the audience and band...it was just
boring. I like his recordings but live it's about as exciting as a dead
fish. I lasted about five songs and left; if this gig had been in a
seated venue, there is a strong chance I would have fallen asleep.
Instead, I got in my car and went Snoopy's and got a hot dog, a much
better ending to the night than a delicate flower playing morose music.

Sunday, September 7, 2014

I
pretty much had one thing in mind with today's day parties - I was told
a while back that Yo La Tengo would be appearing in some form at the
Three Lobed party at Kings, and I was going to be there goddammit!

To be safe I got there early, which was a smart decision because I got to see a short set from Rose Cross NC (or Jenks Miller & Rose Cross NC
- I'm unsure which is the official name). As you might have already
guessed by one of the two potential band names, Jenks Miller of Mount
Moriah and Horseback fronts the group; the band was rounded out by the
bassist from Mount Moriah (whose name I'm unsure of), drummer Dan
Westerlund (who has drummed for tons of people and also plays some mean
basketball), and a lady on on the keys (no idea on her name or
basketball skills). Their set was one long song, starting out very slow
and sparse and building into a full band rocker with just a smattering
of vocals. I really hope this wasn't just a one-off for Hopscotch and
instead becomes a regular thing, because I was way into it.

Up next was why I left the house - Little Black Egg Big Band aka Yo La Tengo, Steve Gunn & William Tyler performing as an improv drone guitar orchestra.
James McNew was sitting in the middle of the stage with a table full of
pedals, Ira Kaplan and Georgia Hubley were sitting on either side of him
with guitars, and finally Gunn and Tyler were standing on the edges of the stage each with, yes, guitars.
It was one long, epic jam; and as I've mentioned before, this kind of
experimental music is usually not my bag, but it was interesting enough
to hold my attention for the set. I actually find myself paying more
attention to what each of the members is doing than the music itself, to
be honest - and the most interesting I saw was William Tyler holding
small handheld radios to his guitar to create feedback that he then
tweaked through his pedals. I'd still rather see a regular performance
by all of these acts, but the fun part of a festival is getting to
experience different weird shit like this.

This year Hopscotch expanded to having City Plaza shows all three nights instead of just Friday and Saturday, with De La Soul
as the inaugural Thursday headliner. I saw them in a small club in
Boone in 1993 (I think) opening for a Tribe Called Quest, and while
seeing them on a giant outdoor stage wouldn't have quite the same
effect, I still found it an enjoyable performance. The set seemed to be
pretty comprehensively career spanning, with material from their first
three albums getting the loudest cheers. Songs like "Stakes Is High,"
"A Rollerskating Jam Named 'Saturdays'," and "Me, Myself and I" still
sound great to me more than two decades after they were first released.
Things really started to get good when they brought Mike G from the
Jungle Brothers out to perform "Buddy"...and then the rain started.
First a few fat drops, then the downpour. Most of the plaza emptied and
De La stopped performing after that song, but a small band of very wet
fans stayed camped out in front of the stage and it looked as if they
were going to perform an encore for them, but I didn't stick around to
find out - I was gonna go get somewhere dry.

The Lincoln Theatre was the closest venue and I was planning on checking out Sun Club
there anyways, so it was a no brainer to head there. A very young
five-piece from Baltimore, they bounded around on the stage like a
Jazzercise class gone awry. I suppose the closest musical touchstone
would be Animal Collective, maybe with a whiff of hippie vibes (or maybe
it was just the girl who smelled of patchouli standing near me that
made me think that). In previous years I probably would have made some
sort of Elephant 6 comparison, but I don't think kids as young as this
band appeared to be have any idea what that even is. Not my favorite
band of the fest but not bad either, and they were fun to watch.

My
carefully crafted plans of roaming the streets and checking out
different acts were scrapped because of this incessant rain, but
continuing to hang at the Lincoln to see American Aquarium
ain't a bad consolation prize. I've known singer BJ Barham for a
little while now so I can't pretend to be unbiased, but their rabid
fanbase will back up my assertion that they are a damn fine alt-country
band, and on this evening they sounded fantastic. They threw a
Backsliders cover into their set early, and towards the end tackled
Bruce Springsteen's "Born to Run" which sounded great until they got to
the end and no one was there to play Clarence Clemmons' sax part. Might
be time for U.S. Fishtank to hire a horn player!

I didn't know dick about White Laces
but their write-up on the Hopscotch website sounded interesting and I
was waiting on the next band anyways, so why the fuck not right? The
singer looked like David Bazan but the music they played was a blend of
dream pop and garage rock that worked pretty nicely together. The crowd
seemed into it - the kid standing next to me looked almost orgasmic
while they played. Kids these day amirite?!? Also, I don't think a
single member of the band was actually wearing white laces, tsk tsk.
The band is from Virginia so I'm assuming they'll come back to town at
some point - I'd gladly check them out again.

Finally it was time for not only the highlight of the night but the highlight of the whole festival for me, the War on Drugs.
To say their most recent record "Lost in the Dream" is my favorite of
the year would be an understatement - it's possible I've listened to
this one album more this year than everything else combined, and I'm not
even close to sick of it. The band was playing as a six piece, with
three different guys manning keyboards (in addition to other duties on
the guitar and various horns). They did get some bonus help on guitar
for one track in form of local lad Brad Cook, who at this point either
knows or has played with every musician currently alive it seems. The set consisted of nearly every song on the new record, and a few older tracks like "Baby Missles" weaved in throughout.
Frontman Adam Granduciel and his 17+ guitar pedals were straight
shredding from start to finish, but it wasn't just wankery for the sake
of it - in the context of War on Drugs' songs, that kind of guitar work
benefits the music. The band played for a long time, until nearly 2:30 -
I was always under the impression bands had to stop at 2 AM, but good
on the Lincoln for allowing the Drugs to finish their set. I left the venue dead damn tired, but extremely happy with my first day of Hopscotch.

Friday, September 5, 2014

Hopscotch has landed on top of us yet again. Somehow I'm already feeling prematurely tired just thinking about it.

I
actually started my day out at the Potluck party at Slims shooting the
shit with a few friends, but before I saw any bands there I took off to
Neptunes to see Drag Sounds.
I had been meaning to see these Greensboro kids for a while now, having
heard many good things...apparently I was one of only a few people who
felt that way because outside of the other bands there were very few
folks in the club. Too bad, because not only did it feel great in that
cool basement bar on this hot-as-balls day, the band was fantastic,
probably my favorite of everyone I saw during all of today's parties.
They had a really heavy Television vibe to them, insomuch as anyone can
be like Television. They also made me think of early Pavement...a cover
of "Two States" would not have felt out of place. I'll definitely be
seeing these guys when they come back around, which seem to be fairly
often.

There were performers happening both at Kings and at Neptunes
all day, so after Drag Sounds' set I moseyed upstairs to see what the
hell was happening at Kings. Turns out it was a solo dude called Secret Boyfriend
with a table full of electronics, making an unholy racket that I kinda
sorta enjoyed even though I couldn't say why. He threw some vocals over
the fracas on occasion but it was mostly just the man and his knobs
tweaking out. At one point he took a mic'd up sheet of metal (might
have been a cookie sheet?) and banged it on his head for a while, then
chewed on it before finally sticking the mic off of the metal in his
mouth and (I guess) chewing on it a little bit. And for his final song,
how does he follow all that fracas up? He plays a mellow song on the
acoustic guitar, of course. I'm not entirely sure what the hell it was I
watched, but I'm mostly glad I saw it.

Another trip downstairs was met with a Baltimore band called Goblin Mold,
and what a cast of characters - all of them looked like they were right
out of a John Waters film, so they were doing their city proud. The
drummer played the entire show wearing a backpack - I've seen a LOT of
shows over the years, but that was definitely a first. I suppose you'd
say they played quirky indie rock, though that doesn't really tell you
anything. They didn't sound like anyone in particular, but they had
bits and pieces that made me think of others...most notably the lead
guitar work, which had that strangely tuned, almost underwater sound you
heard on a lot of early Polvo songs. And the vocals reminded me of
Cap'n Jazz maybe, whichever Kinsella brother that was. I was feeling
the show.

Back upstairs at Kings was another solo artist called Lee Noble.
At first glance I thought it was just another dude manipulating a table
full of electronics, but it turns out he had a Moog and was actually
playing it. It was sort of a John Carpenter-style synth funeral dirge
with sparse, deep vocals. As this isn't really my world I'd be hard
pressed to come up with fitting comparison...I'll go with electronic
Leonard Cohen or some such shit. See, I told you I didn't have a good
comparison.

After a little down time Heads on Sticks
took the stage at Kings. It had been a dog's year since I'd seen them
last, and it was high time I re-acquainted myself. They have no
drummer, but the heavy beats from the drum machine lay the foundation
their songs are built on. Those beats combined with the bass was so
heavy it was shaking my innards and making me feel even hungrier than I
felt before the music started. If you've never seen them they give off a
heavy No Wave circa 1979 vibe, think James Chance & the Contortions
or any number of other acts from that era. They're very talented &
tight and if I were a dancin' man I might have even shaken a shoe
during their set. Attendance had been pretty sparse at most of the
shows I'd seen so far today, but a number of folks had shown up for this
one and they were witness to an excellent set.

Before heading home for a short break I made one last stop at Slims to see what was going on there, and caught a bit of See Gulls. I saw them fairly recently at the Pinhook and was into it, and my second impression did not waver from the first. They were playing their quirky pop on the "outside stage" of Slims (aka the back patio)
and goddamn was it hot under that beating sun. I was only good for
about three or four songs before high-tailing it to the air conditioning
of my car and some very late lunch to gird my loins in preparation for the night's festivities.

We braved monsoon-like rains to get to Kings in in effort to roust up some laughs from Kyle Kinane.
Despite having wet pants for the entire show, it was a successful
endeavor. He was working out material for a special he would be
recording in Georgia in a few days, so I guess this was a sneak preview
and/or we were being used as guinea pigs. As an aside, do they actually
test anything on guinea pigs? You'd think how much they get mentioned
in regards to testing that everything runs through them. Anyways,
newsflash: Kyle was friggin' hilarious, and the special is clearly going
to be awesome. I will be more than happy to rehear all of these same
jokes again; especially if he uses his long story about getting a
blowjob from a mentally slow under-aged girl, that shit killed the
entire audience.

I'll generally try to make it to any Spider Bags
show, but this one was special - a release party for their first record
on Merge, "Frozen Letter." Flesh Wounds were doing the exact same
thing in Chapel Hill on this same night - why the two bands didn't
combine their release shows is beyond me and a bummer, because I would
love to have seen both. Spider Bags singer Dan McGee made note that the
only band they could think of to open this show for them was Flesh
Wounds, and since they were clearly busy, the Bags decided to just play
this one by themselves. Since it was only them for the entire night,
they played two different sets. The first set was the new record in
order and in it's entirety, and it was great introduction to their new
material as I hadn't heard "Frozen Letter" previous to the gig. There
was then a 15 to 20 minute break where the crowd and the band both
refueled their Beer cells, and then the Bags launched into their
"greatest hits" aka every song you would ever want to hear them play
from all of their previous recordings. Including the break I think they
played for two and a half hours, and it was a blistering, raucous,
incredibly sweaty affair...seriously, I think it might have been 95
degrees inside of the Pinhook. A sweaty t-shirt is a small price to pay
for a show that good though.

The chances of getting an unbiased review of the Rosebuds
has never been very high around here - I've known Ivan and Kelly for
many years. Now not only have they added two more friends to their
touring band, Mark Paulson (also of the Bowerbirds) on bass and Rob
Lackey on Drums, but one of my very best friends for a large portion of
my life, Brian Weeks on guitar. We go all the way back to Belk Hall on
the UNCW campus in 1994, moved to San Francisco together in 2000, and
have been annoying each other regularly for twenty years now.

Since I'm too lazy to write two reviews I'm lumping both of
their shows these past couple of months together. The first was at the
Duke Gardens, and sorta seemed to coincide with the Merge 25 festivities
even if the band isn't on the label anymore (I still saw Merge head
honcho Mac at the show, so things must still be copacetic between the
Rosebuds and their former label). It's always a little weird seeing a
band in the daylight, much less in front of bunch of middle aged (or
older) folks spread out on a lawn in camping chairs and sitting on
blankets with picnic spreads of food. The band had a new record coming
out in August called "Sand + Silence," and probably half of the set was
dedicated to premiering these new songs to their "hometown" crowd
(neither Ivan or Kelly are actually locals anymore). The rest of the
set was dedicated to highlights from their long career, from "Back to
Boston" to "Woods" to crowd sing-a-long favorite "Nice Fox." There was
also a fun performance of "Get Up Get Out" where Kelly gave shakers and
tambourines and such to a group of little kids dancing in front of the
stage, and they seemed to have a blast. Of course the downside is the
band still had a few more songs to play and the kids never gave the
noise makers back, so the remainder of the set was accompanied by a lot
of arrhythmic percussion coming from the crowd. Maybe best to save the
participation songs for the end...

The Duke Gardens show was a one off, but a little over a month
later they returned to the Triangle as part of their short East Coast
tour, landing at the Cat's Cradle. It was the same group of musicians
and a mostly similar set list, though this gig did focus a little more
heavily on the new record. Also, no children with percussion
instruments playing them haphazardly. The sound was better at this gig,
but that is more of a function of it being inside the Cradle rather
than outside amongst flowers. Most importantly, it was a good time like
Rosebuds shows always are.

Swearin'
was one of the best surprises of last year's Hopscotch - I saw them
randomly at a day party at Slims and was blown away. I think they
rolled back through town another time and I wasn't able to go, so it was
nice to finally catch them again and confirm that my first impression
was not a fluke. The verdict? It was not. The band was extremely
catchy just like last time, comprised of a formula roughly one-third
pop, one-third punk, and the final third nineties indie fuzz rock. In
band terms, imagine some sort of combination of Superchunk, the
Thermals, and the Breeders (the Breeders comparison brought to me by my
friend Brian, something I had never thought of but that made perfect
sense as soon as he said it). It was all quite lovely and enjoyable and
I promptly bought both of their records, something I wanted to do at
Hopscotch but passed on because I didn't want to carry the records
around with me the rest of that day.

The opening act was an all-female group of of Massachusetts called Potty Mouth.
They too had a nineties vibe, as so many bands today do - in their
case, more of a Velocity Girl meets Dinosaur Jr thing. People seemingly
have forgotten all about Velocity Girl, but their first two records
"Copacetic" and "Simpatico" are still great even if the production on
them is kinda muddy and shitty. Would love to see those two get
remastered and reissued. Anyways, at one point this hot mess of a drunk
girl in the crowd started yelling at the band about how young they
were, which led the bassist to go on a bit of a rant about ageism
combined with sexism in music; and yeah, they looked really young but
why bring it up? What do you stand to gain? Just enjoy the music and
maybe get less drunk next time, hot mess. Pretty much every band seems
young to me these days, and so long as they are enjoyable I could give a
shit.

About Me

check out the parent website...
http://www.doginasweater.com/
2008 - current: These reviews are from my time here in the Triangle of NC.
Pre-2008: These reviews were from when I lived in the Bay Area and likely appeared on the website Playing in Fog.